EU SURVEY ON POPULAR THEATRE Home / EU SURVEY ON POPULAR THEATRE INTERNATIONAL SURVEY ON POPULAR THEATRE (Programmers) If you are human, leave this field blank. Survey for Programmers Your Festival / Agency name * Your Country * Your Email * Your Website/URL 1) What influences the artistic production in the contemporary circus, street theatre and puppetry sectors most? the market 3 4 5 6 7 8 9 10 the audience’s taste 3 4 5 6 7 8 9 10 the political and social vision of the author 3 4 5 6 7 8 9 10 the aesthetics of the author 3 4 5 6 7 8 9 10 the techniques practiced 3 4 5 6 7 8 9 10 the production budget 3 4 5 6 7 8 9 10 2) Among the shows that you regularly program, which percentage is chosen giving priority to the tastes of the audience? * 100% between 75% and 100% between 50% and 75% between 25% and 50% between 0% and 25% 0% 3) In which of these ancient forms can you trace the roots of contemporary popular performing arts? Mystery Plays Jester Arts Buffoons Minstrel Popular Drama Acrobatics Storyteller No ancient forms Other ancient forms: please specify 4) What role can dramaturgy play in artistic productions within the sector? * scarce moderately important important very important 5) What role does provocation play in the shows you program? * scarce moderately important important very important 6) Which of these other dimensions are also in the shows you programme? * sacred spiritual shamanic holistic none of these dimensions 7) What is the preferred language used in the international productions you program? * the body language the speech translated in various languages the grammelot the figure 8) What is the preferred language used in the local productions you programme? * the body language the speech the grammelot the figure 9) How would you define the performing act in street theatre and popular performing arts in general? * an artist's skill an entertainment a social act a provocation 10) Which of these arts forms do you consider to be part of the contemporary popular performing arts? * the dialect theatre the street theatre the open air circus the street bands the figure theatre the dance-theatre the narrative theatre the contemporary dance the fireworks the flag wavers the traditional games the historical re-enactment the historic carnivals the political theatre the karaoke the rap music the parkour the circus with animals 11) In the field of popular performing arts, how much contemporary production can be traced back to ancient forms? * 100% between 75% and 100% between 50% and 75% between 25% and 50% between 0% and 25% 0% 12) Please indicate the historical forms of street theatre that, in your opinion, are most significant for the formation of a European cultural identity * the Commedia dell’Arte the physical theatre the French clownerie the Czech figure theatre the East European circus the Anglo-Saxon buffoon none of these 13) Which of these could be used to define the modernity of the popular performing arts? * through theoretical research through practical research through cooperation and comparison with other cultures listening to, and confronting with, the audience 14) What are the main risks that the popular theatre is facing today? * lack of opportunities scarce interest from the public progressive closure of social spaces discontinuity with tradition lack of innovation redundancy of themes and forms scarcity of resources and public investments cultural discrimination absence of new contents 15) Does the current market offer more possibilities to solo artists or companies? * solo artists companies 16) Is the audience at your events mainly a formed audience or a spontaneous audience? * formed audience spontaneous audience 17) From your point of view, what are the shortcomings that the Street performing arts currently presents? General crisis of street theatre Loss of choral forms of performance Lack of dramaturgy, narration or contents Progressive abandonment of theatrical forms in favour of purely aesthetic or entertainment ones Other shortcomings: please specify 18) Which of the following actions would improve the present situation? Rediscovery of the roots and original (archetypal) forms of street theatre Recovery of the creativity and of role of the Buffoon-Author-Performer Stimulation of artistic aggregation No actions needed Other: please specify 19) Which of these best describes your opinion about streaming online one or more events you organize? * an opportunity to face the current state of crisis an opportunity to get in contact with new audience a repudiation of the fundamental value of direct contact with the spectator I am interested but the production costs should be too high an audio-visual project far from my skills I am not interested in this transfer 20) Which of these could the Mysteries and Drolls project support? * historical research innovation development of international networks artistic training audience development none of these Submit
INTERNATIONAL SURVEY ON POPULAR THEATRE (Programmers) If you are human, leave this field blank. Survey for Programmers Your Festival / Agency name * Your Country * Your Email * Your Website/URL 1) What influences the artistic production in the contemporary circus, street theatre and puppetry sectors most? the market 3 4 5 6 7 8 9 10 the audience’s taste 3 4 5 6 7 8 9 10 the political and social vision of the author 3 4 5 6 7 8 9 10 the aesthetics of the author 3 4 5 6 7 8 9 10 the techniques practiced 3 4 5 6 7 8 9 10 the production budget 3 4 5 6 7 8 9 10 2) Among the shows that you regularly program, which percentage is chosen giving priority to the tastes of the audience? * 100% between 75% and 100% between 50% and 75% between 25% and 50% between 0% and 25% 0% 3) In which of these ancient forms can you trace the roots of contemporary popular performing arts? Mystery Plays Jester Arts Buffoons Minstrel Popular Drama Acrobatics Storyteller No ancient forms Other ancient forms: please specify 4) What role can dramaturgy play in artistic productions within the sector? * scarce moderately important important very important 5) What role does provocation play in the shows you program? * scarce moderately important important very important 6) Which of these other dimensions are also in the shows you programme? * sacred spiritual shamanic holistic none of these dimensions 7) What is the preferred language used in the international productions you program? * the body language the speech translated in various languages the grammelot the figure 8) What is the preferred language used in the local productions you programme? * the body language the speech the grammelot the figure 9) How would you define the performing act in street theatre and popular performing arts in general? * an artist's skill an entertainment a social act a provocation 10) Which of these arts forms do you consider to be part of the contemporary popular performing arts? * the dialect theatre the street theatre the open air circus the street bands the figure theatre the dance-theatre the narrative theatre the contemporary dance the fireworks the flag wavers the traditional games the historical re-enactment the historic carnivals the political theatre the karaoke the rap music the parkour the circus with animals 11) In the field of popular performing arts, how much contemporary production can be traced back to ancient forms? * 100% between 75% and 100% between 50% and 75% between 25% and 50% between 0% and 25% 0% 12) Please indicate the historical forms of street theatre that, in your opinion, are most significant for the formation of a European cultural identity * the Commedia dell’Arte the physical theatre the French clownerie the Czech figure theatre the East European circus the Anglo-Saxon buffoon none of these 13) Which of these could be used to define the modernity of the popular performing arts? * through theoretical research through practical research through cooperation and comparison with other cultures listening to, and confronting with, the audience 14) What are the main risks that the popular theatre is facing today? * lack of opportunities scarce interest from the public progressive closure of social spaces discontinuity with tradition lack of innovation redundancy of themes and forms scarcity of resources and public investments cultural discrimination absence of new contents 15) Does the current market offer more possibilities to solo artists or companies? * solo artists companies 16) Is the audience at your events mainly a formed audience or a spontaneous audience? * formed audience spontaneous audience 17) From your point of view, what are the shortcomings that the Street performing arts currently presents? General crisis of street theatre Loss of choral forms of performance Lack of dramaturgy, narration or contents Progressive abandonment of theatrical forms in favour of purely aesthetic or entertainment ones Other shortcomings: please specify 18) Which of the following actions would improve the present situation? Rediscovery of the roots and original (archetypal) forms of street theatre Recovery of the creativity and of role of the Buffoon-Author-Performer Stimulation of artistic aggregation No actions needed Other: please specify 19) Which of these best describes your opinion about streaming online one or more events you organize? * an opportunity to face the current state of crisis an opportunity to get in contact with new audience a repudiation of the fundamental value of direct contact with the spectator I am interested but the production costs should be too high an audio-visual project far from my skills I am not interested in this transfer 20) Which of these could the Mysteries and Drolls project support? * historical research innovation development of international networks artistic training audience development none of these Submit
